The key word for The Amory Wars is “epic.” If you’re into melodrama, complicated back stories, and the feeling that the idea behind the story is more important than the story itself, then you’ll enjoy this fictional universe and the music it inspires. If not, well, you probably don’t like comic books or progressive hard rock anyway.

This installment continues Season Four’s trend of bucking traditional Eureka episode formats. We open with a late night car chase, and spend the rest of the episode finding out what led to this creepy moment.

Carter and Henry are strolling through town, lamenting their love lives, when Fargo shows up acting really excited about the “VIP” coming to visit, who turns out to be Claudia Donovan from Warehouse 13.

It’s space week at Eureka — complete with a 24 hour remote control rocket race to the moon and back — and Carter is glad he’s getting out of town (he’s visiting Zoe). But with all the time travel, is she going to be the Zoe he remembers? Also, Dr. Blake’s son Kevin is a typical teenager, which is to say a total jerk to anyone over the age of 17.

This episode is Fargo heaven! Plus, Wil Wheaton guest stars. Let’s see how this alternate timeline pans out.

Carter, Allison, Jo, Fargo, and Henry try to adjust to the changes made to their reality thanks to their time-traveling adventure with Dr. Grant, and so do we.

It’s Founders’ Day, and Eureka is celebrating the founding of Eureka as a scientific research community. Carter decides to go for a jog before the festivities start, which takes him to that lonely strip of road we all love where things always seem to go wrong and serve as a convenient catalyst for the plot.

As we start our second installment, Victor and Reed are still at it, walking the street amongst humans to see if Reed’s psychic-empathic abilities can pick up an Android. But the only Android he can sense — because of his lack of emotions — is Victor himself.

This issue could probably have been rolled into the last issue. In fact, the thematic structure and the rhythm of this part of the story would have made this issue and the last two fit together nicely, but with all the extra wording that a direct adaptation requires, that probably would not have been feasible.

This issue contains more nail-biting tension. When I stop to think about it, this is the kind of scene that Quentin Tarantino would have a field day with. There’s a thought: a Tarantino adaptation of a Philip K. Dick story. Gives me chills.